3510 BY LUKE JERMAY PDF

I am presented with exactly forty-five minutes to sum up my feelings about the book. A lot has contributed to the style in which this book has been written; among other things a recent transatlantic relocation from the UK to the USA to make a home in Las Vegas. I now find myself a married man, and to top it all off I have even begun work on that traveling freak show I have been dreaming about for oh so long. As I write this I am currently on my way out of Las Vegas--the magical capital of the world--feeling very ill from the extreme turbulence on an otherwise uninteresting flight.

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I am presented with exactly forty-five minutes to sum up my feelings about the book. A lot has contributed to the style in which this book has been written; among other things a recent transatlantic relocation from the UK to the USA to make a home in Las Vegas.

I now find myself a married man, and to top it all off I have even begun work on that traveling freak show I have been dreaming about for oh so long. As I write this I am currently on my way out of Las Vegas--the magical capital of the world--feeling very ill from the extreme turbulence on an otherwise uninteresting flight. Vegas is a town that has in the short while I have lived here already deeply affected my approach to magic and mentalism.

Las Vegas really is the best place in the world to see both great and terrible magic. From the best of the best to the worst of the worst, Vegas is your place. The bulk of this book was written as I lived and worked as a traveling performer. Much of the book being written on planes, in hotels and while generally on the road. There really is a great advantage to having a mobile office. Now, looking back over it, I find it a genuinely nosaltigic read. The task of elaborating on my traveling essays to make them more complete and lucid was much like reading an old travel journal or diary from years past.

Certain essays remind me of specific performances and places. Others remind me of various TV shows I have worked on.

I hold many good memories attached to the writing in this book and some not so good memories. Without having witnessed so much bad magic and mentalism I would never have been moved to examine my own performances at a deeper level. It was this examination triggered by these performances that inspired my feelings and thoughts as recorded in this book.

So in a way I have all the shows that have made me feel sick watching to thank for their inspiration in questioning my own performances at a deeper level. It is my hope that you enjoy what is presented in this book. You will of course not agree with everything I have written, and this is the whole point! The best thing I could ever hope to achieve with this book is to encourage you to question your own performances in the same way I have questioned my own.

Together with our love for the art that has given us so much, we now have the chance to give it something back. Lets keep magic and mentalism as exciting to our audiences as it is to us. Enjoy your journey and maybe our paths will cross along the way.

From the structure of an effect to building a routine and a show. Each point is complete with working examples from my own repertoire. This chapters features a breakdown of what I think are the most useful methods for a performer to have in his or her tool box when it comes to performing mentalism with no psychical props at all.

It also features a working example of how applying the small touches to an effect can make all the difference. These range from the use of a slinky as a pendulum right the way up to saying the alphabet backwards and writing inside out verse. These touches are used throughout the book to build compelling demonstrations and will be referenced throughout from this chapter.

Featuring brand new work on my original effect as well as three different effects that are achieved with the same basic conceptual methodology. As performers I truly think we are building everything we perform on the work of greats from the past. Here I share three routines that I feel are directly inspired by Canasta, Dr. All neatly piled together so those who would rather poke themselves in the eyes with anthrax covered magic wand than mix mentalism and playing cards can simply skip.

From making time stand still, traveling backwards in time, scars healing themselves, incredible coincidences, a game of life and death, demonstrating your "grift sense" while charmingly stealing from your spectators, revealing innermost fears and stealing watches with your psychic power Its all very odd. This features a cold approach to working with suggestive methods as well as a honing method design for the stage performer and a method designed for the close up worker.

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I am presented with exactly forty-five minutes to sum up my feelings about the book. A lot has contributed to the style in which this book has been written; among other things a recent transatlantic relocation from the UK to the USA to make a home in Las Vegas. As I write this I am currently on my way out of Las Vegas—the magical capital of the world—feeling very ill from the extreme turbulence on an otherwise uninteresting flight. Vegas is a town that has in the short while I have lived here already deeply affected my approach to magic and mentalism. Las Vegas really is the best place in the world to see both great and terrible magic. The bulk of this book was written as I lived and worked as a traveling performer.

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3510 by Luke Jermay

I am presented with exactly forty-five minutes to sum up my feelings about the book. A lot has contributed to the style in which this book has been written; among other things a recent transatlantic relocation from the UK to the USA to make a home in Las Vegas. I now find myself a married man, and to top it all off I have even begun work on that traveling freak show I have been dreaming about for oh so long. As I write this I am currently on my way out of Las Vegas—the magical capital of the world—feeling very ill from the extreme turbulence on an otherwise uninteresting flight.

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